C. Stephen Jaeger – författare

Before the rise of universities, cathedral schools educated students in a course of studies aimed at perfecting their physical presence, their manners, and their eloquence. The formula of cathedral schools was "letters and manners" (litterae et mores), which asserts a pedagogic program as broad as the modern "letters and science." The main instrument of what C. Stephen Jaeger calls "charismatic pedagogy" was the master's personality, his physical presence radiating a transforming force to his students. In The Envy of Angels, Jaeger explores this intriguing chapter in the history of ideas and higher learning and opens a new view of intellectual and social life in eleventh- and early twelfth-century Europe.

"Richard, Duke of Aquitaine, son of the King of England, remained with Philip, the King of France, who so honored him for so long that they ate every day at the same table and from the same dish, and at night their beds did not separate them. And the King of France loved him as his own soul; and they loved each other so much that the King of England was absolutely astonished at the vehement love between them and marveled at what it could mean."Public avowals of love between men were common from antiquity through the Middle Ages. What do these expressions leave to interpretation? An extraordinary amount, as Stephen Jaeger demonstrates.Unlike current efforts to read medieval culture through modern mores, Stephen Jaeger contends that love and sex in the Middle Ages relate to each other very differently than in the postmedieval period. Love was not only a mode of feeling and desiring, or an exclusively private sentiment, but a way of behaving and a social ideal. It was a form of aristocratic self-representation, its social function to show forth virtue in lovers, to raise their inner worth, to increase their honor and enhance their reputation. To judge from the number of royal love relationships documented, it seems normal, rather than exceptional, that a king loved his favorites, and the courtiers and advisors, clerical and lay, loved their superiors and each other.Jaeger makes an elaborate, accessible, and certain to be controversial, case for the centrality of friendship and love as aristocratic lay, clerical, and monastic ideals. Ennobling Love is a magisterial work, a book that charts the social constructions of passion and sexuality in our own times, no less than in the Middle Ages.

Selected by Choice magazine as an Outstanding Academic BookArgues that the origins of courtliness lie in the German courts, their courtier class, and the education for court service in the tenth and eleventh centuries.

What is the force in art, C. Stephen Jaeger asks, that can enter our consciousness, inspire admiration or imitation, and carry a reader or viewer from the world as it is to a world more sublime? We have long recognized the power of individuals to lead or enchant by the force of personal charisma-and indeed, in his award-winning Envy of Angels, Jaeger himself brilliantly parsed the ability of charismatic teachers to shape the world of medieval learning. In Enchantment, he turns his attention to a sweeping and multifaceted exploration of the charisma not of individuals but of art.For Jaeger, the charisma of the visual arts, literature, and film functions by creating an exalted semblance of life, a realm of beauty, sublime emotions, heroic motives and deeds, godlike bodies and actions, and superhuman abilities, so as to dazzle the humbled spectator and lift him or her up into the place so represented. Charismatic art makes us want to live in the higher world that it depicts, to behave like its heroes and heroines, and to think and act according to their values. It temporarily weakens individual will and rational critical thought. It brings us into a state of enchantment.Ranging widely across periods and genres, Enchantment investigates the charismatic effect of an ancient statue of Apollo on the poet Rilke, of the painter DÜrer's self-portrayal as a figure of Christ-like magnificence, of a numinous Odysseus washed ashore on Phaeacia, and of the black-and-white projection of Fred Astaire dancing across the Depression-era movie screen. From the tattoos on the face of a Maori tribesman to the haunting visage of Charlotte Rampling in a film by Woody Allen, Jaeger's extraordinary book explores the dichotomies of reality and illusion, life and art that are fundamental to both cultic and aesthetic experience.

Selected by Choice magazine as an Outstanding Academic BookArgues that the origins of courtliness lie in the German courts, their courtier class, and the education for court service in the tenth and eleventh centuries.

"Richard, Duke of Aquitaine, son of the King of England, remained with Philip, the King of France, who so honored him for so long that they ate every day at the same table and from the same dish, and at night their beds did not separate them. And the King of France loved him as his own soul; and they loved each other so much that the King of England was absolutely astonished at the vehement love between them and marveled at what it could mean."Public avowals of love between men were common from antiquity through the Middle Ages. What do these expressions leave to interpretation? An extraordinary amount, as Stephen Jaeger demonstrates.Unlike current efforts to read medieval culture through modern mores, Stephen Jaeger contends that love and sex in the Middle Ages relate to each other very differently than in the postmedieval period. Love was not only a mode of feeling and desiring, or an exclusively private sentiment, but a way of behaving and a social ideal. It was a form of aristocratic self-representation, its social function to show forth virtue in lovers, to raise their inner worth, to increase their honor and enhance their reputation. To judge from the number of royal love relationships documented, it seems normal, rather than exceptional, that a king loved his favorites, and the courtiers and advisors, clerical and lay, loved their superiors and each other.Jaeger makes an elaborate, accessible, and certain to be controversial, case for the centrality of friendship and love as aristocratic lay, clerical, and monastic ideals. Ennobling Love is a magisterial work, a book that charts the social constructions of passion and sexuality in our own times, no less than in the Middle Ages.

Before the rise of universities, cathedral schools educated students in a course of studies aimed at perfecting their physical presence, their manners, and their eloquence. The formula of cathedral schools was "letters and manners" (litterae et mores), which asserts a pedagogic program as broad as the modern "letters and science." The main instrument of what C. Stephen Jaeger calls "charismatic pedagogy" was the master's personality, his physical presence radiating a transforming force to his students. In The Envy of Angels, Jaeger explores this intriguing chapter in the history of ideas and higher learning and opens a new view of intellectual and social life in eleventh- and early twelfth-century Europe.

What is the force in art, C. Stephen Jaeger asks, that can enter our consciousness, inspire admiration or imitation, and carry a reader or viewer from the world as it is to a world more sublime? We have long recognized the power of individuals to lead or enchant by the force of personal charisma-and indeed, in his award-winning Envy of Angels, Jaeger himself brilliantly parsed the ability of charismatic teachers to shape the world of medieval learning. In Enchantment, he turns his attention to a sweeping and multifaceted exploration of the charisma not of individuals but of art.For Jaeger, the charisma of the visual arts, literature, and film functions by creating an exalted semblance of life, a realm of beauty, sublime emotions, heroic motives and deeds, godlike bodies and actions, and superhuman abilities, so as to dazzle the humbled spectator and lift him or her up into the place so represented. Charismatic art makes us want to live in the higher world that it depicts, to behave like its heroes and heroines, and to think and act according to their values. It temporarily weakens individual will and rational critical thought. It brings us into a state of enchantment.Ranging widely across periods and genres, Enchantment investigates the charismatic effect of an ancient statue of Apollo on the poet Rilke, of the painter DÜrer's self-portrayal as a figure of Christ-like magnificence, of a numinous Odysseus washed ashore on Phaeacia, and of the black-and-white projection of Fred Astaire dancing across the Depression-era movie screen. From the tattoos on the face of a Maori tribesman to the haunting visage of Charlotte Rampling in a film by Woody Allen, Jaeger's extraordinary book explores the dichotomies of reality and illusion, life and art that are fundamental to both cultic and aesthetic experience.

What is the force in art, C. Stephen Jaeger asks, that can enter our consciousness, inspire admiration or imitation, and carry a reader or viewer from the world as it is to a world more sublime? We have long recognized the power of individuals to lead or enchant by the force of personal charisma-and indeed, in his award-winning Envy of Angels, Jaeger himself brilliantly parsed the ability of charismatic teachers to shape the world of medieval learning. In Enchantment, he turns his attention to a sweeping and multifaceted exploration of the charisma not of individuals but of art.For Jaeger, the charisma of the visual arts, literature, and film functions by creating an exalted semblance of life, a realm of beauty, sublime emotions, heroic motives and deeds, godlike bodies and actions, and superhuman abilities, so as to dazzle the humbled spectator and lift him or her up into the place so represented. Charismatic art makes us want to live in the higher world that it depicts, to behave like its heroes and heroines, and to think and act according to their values. It temporarily weakens individual will and rational critical thought. It brings us into a state of enchantment.Ranging widely across periods and genres, Enchantment investigates the charismatic effect of an ancient statue of Apollo on the poet Rilke, of the painter DÜrer's self-portrayal as a figure of Christ-like magnificence, of a numinous Odysseus washed ashore on Phaeacia, and of the black-and-white projection of Fred Astaire dancing across the Depression-era movie screen. From the tattoos on the face of a Maori tribesman to the haunting visage of Charlotte Rampling in a film by Woody Allen, Jaeger's extraordinary book explores the dichotomies of reality and illusion, life and art that are fundamental to both cultic and aesthetic experience.

Historical research into emotionality is at present generally enjoying an heightened level of interest. This bilingual volume documents the proceedings of an international conference, discussing current paradigms and perspectives in historical literary research into emotions and heightening awareness of the mediality of cultures of emotion in historical change. The discussion of methodological questions opens up avenues for interdisciplinary research.